Godard and Truffaut Would Be Proud

Dans Paris (2006) - dir. Christophe Honoré - 4.5 stars

Since the success of the French New Wave in the 50s and 60s, many film-makers, mostly French, have tried to pay homage to the great minds behind the movement. Godard and Truffaut's distinctive styles have inspired countless fans to bring something similar to the big screen time and time again, to achieve that playful approach of the New Wave to any material, no matter how serious it is. Honoré clearly not only appreciates the New Wave and its auteurs but also has a deep understanding of what makes the movement so popular, especially in recent times. As a result, he successfully presents us with something more than a tribute with his latest Dans Paris.

The film is mainly about a depressed man, Paul, who is having a very hard time coming to terms with himself, with what he wants and most importantly with the woman whom he loves. His brother, Jonathan, is the mischievous wild spirit who tries to help him in his own way, while in the meantime kissing naught but three girls over the course of it. This is where the playful treatment of the subject comes to its best, as the film proves that life goes on and you can still get laid no matter what!

The story may be about these brothers, but the central character of the film makes her appearance in the first few minutes of the film: the city of Paris. Paris is not just the city these odd characters are living in. It's their tumor and savior. The city is suffocating yet it breathes life into this depressed man, as he recovers in his cocoon of a bedroom. In fact, the film starts and ends in Paul's bedroom.

The New Wave aspects of the film are obvious from the beginning, as Jonathan addresses the audience, reminding them that he is not the main character of the film despite the obvious connections one would make by seeing him first. This playful address reminds the viewer of Godard's À bout de souffle (1960) and Bande à Part (1964) where Godard's characters acknowledge the existence of the viewer by not only talking directly to it but also by bowing and going through a dance number.

Even though Honoré doesn't reinvent the wheel, he successfully manages to pull together a film that lives and breathes New Wave aesthetics, acting, script and spirit. It's worth applauding him just for the fine execution of New Wave theories for the 21st century audience.